Many of Tod's melodramas like Maria Marten and The Face at the Window had been filmed numerous times since the dawn of British cinema. But in partnership with quota quickie producer George King, Tod stepped in front of film cameras for the first time to capture his signature role of Squire William Corder on celluloid. A typical 2-week residency at a provincial fleapit by Tod's company would consist of Maria Marten the first week and Sweeney the second.

Milton Rossmer handled directorial chores on this one instead of King and the difference shows. The camera is relatively mobile and seeks a number of interesting angles - especially as it prowls around the red Barn as Tod prepares to shoot the luckless Maria. Production values and period design are relatively high for what is in essence one of the much-derided quota-quickies. Tod is the central figure and a sympathetic, multi-faceted role for all his evil. At the opening barn dance, he is the life-and-soul of the party and ensures that all his guests are enjoying themselves as he cuts a merry caper on the dance floor. The flighty Maria is much taken with him - and who can blame her when the only alternative is the sullen Carlos the Gypsy. Far from being the callow young suitor who normally opposed Tod's leering baddies, Carlos is impulsive and a bit too handy with a knife for comfort. His pursuit of the uninterested Maria verges on stalking and Eric Portman plays him with an authority that matches Tod. The confrontation in the drawing room between the 2 men after Corder has received his dowry is an interesting conflict of two differing acting styles and I had to admire the way Corder was able to signal for help despite been at the mercy of Carlos. Tod Slaughter also demonstrates what a skilled comedy actor he was with some amusing interludes as he loses heavily at dice to a suavely-sleazy Dennis Hoey His facial contortions are a joy, as is his swindling of idiot Tim Winterbottom and his scarcely-concealed repulsion from his intended - the big-nosed Psalmist. By the end of the 30's, Tod's acting style was, even then, regarded as pass? and a bit of a joke. He was often reduced to performing shortened dramatic acts on stage on the ABC cinema circuit. Nonetheless, he kept active throughout his life (American soldiers stationed in Belfast during the war seeing him on stage didn't know what to make of him).

Until a few weeks ago, I had never even heard of Tod Slaughter. Now I have got to see three of his films and I absolutely love him. He is the master of pomposity. He has virtually no moral sense. In all three films, he frolics with much younger women. He has no qualms about bumping off anyone that gets in his way. In this film, he is a squire who has run up some sizable gambling debts. He has been wooing a local man's daughter, for obvious reasons. She is even willing to marry him, but he needs money, so, instead, he becomes engaged to the ugly daughter of a rich man. To seal things up, he must kill the attractive young woman and then cover his tracks. No one believes the young gypsy man who figures things out. There is a lot of classism going on. He is one of the haves and the have nots must curtsy to him. When Slaughter is on the screen he is absolutely dominating. I'm now hoping to locate some more. This is a bleak but intense film. The setting is wonderful, in the stultifying country, with its secrets. What a cad!

Of all Tod Slaughter's films, this horror-melodrama about a young girl brought to disgrace by a local squire easily is my favourite. Slaughter plays Squire William Corder, infatuated with a young Maria who is also admired greatly by a roaming gypsy named Carlos(Carlos is very English, however). Squire Corder consentually has his way with Maria, she later becomes pregnant, and Corder kills Maria in the Red Barn to quiet her so he can continue on with his own marriage plans for some much needed capital in order to pay off his gambling debts. Slaughter is a sight for the sorest of eyes. They just do not cut ham this thick anymore! He rolls his eyes, leers, laughs maniacally with the best, and he also has the greatest ability to be totally likable no matter what variety of fiend he plays. At one point in a scene where Maria confronts Corder about needing his help for these very trying circumstances, Slaughter delivers lines like, "No, don't speak" with relish I just have not seen in film very often. Every line Slaughter says seems to come to life and yet we seem to be in on the joke with him. This is a great piece not so much for the mystery...really is no mystery...but simply to watch an actor who should get more credit than he does act like no other. Great fun, great laughs, great Slaughter!